jack wilkins double stops analysis

8/10/2019 Jack Wilkins Double Stops Analysis

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In bar one, Wilkins implies a tri-tone substitution of Ab7

against the D-7 chord by harmonizing the C with the Gb in the upper

voice. These tones are the 3 rd and b7th of Ab7. In Bar two Wilkins

delays resolution to the G7 chord by repeating the harmonised C and

Gb. He then resolves to the harmonised B and F tones which are

again the 3 rd and b7 of the G7 Chord. He then flips the order of the

guide tones by harmonizing the b7 of C, Bb in the lower voice with

the third, E, in the upper voice clarifying the C7 chord sound. In bar 3

Wilkins uses the tri-tone substitution of Eb7 instead of A7 on the

“and” of beat two by h armonizing the G (the third of Eb) with the Db

in the upper voice (the b7 of Eb). He then descends chromatically and

anticipates the arrival of the D-7 chord by changing its function and

implies a D7 chord instead. Harmonizing the major 3 rd of D in the

lower voice with the b7 in the upper voice create the guide tones of a

D7. This leaves the ear wanting to fill in the last bar with the

completion of the dominant cycle to G7 that would resolve back to

the top of the form and the ensuing C7 chord.

Fig.10

Fig.11



In Figure 12, also from “Isotope”, Wilkins uses double stopped

perfect fourth intervals to delineate the sound of dominant chords

that contain a suspended 4th

degree. In bar one, he begins his quaverbased rhythmic statement by anticipating the A7sus4 chord two

beats early in the C7 bar. By harmonizing the E with an A, a fourth

above in the upper voice, and then slurring into the D with a G a

fourth above in the upper voice he creates the pitch collection of A

(root), D (4 th ) E (5 th ) and G (b7). These double stop 4ths clearly

identify the chord underneath as a Dominant7sus4. This repetitive

figure is repeated three times before Wilkins then anticipates the

resolution to the Ab7sus4 chord by descending chromatically to

harmonise the Db with a Gb in the upper voice which are the 4 th and

the b7 of the Ab7 chord further outlining its suspended function.

Fig.12



Fig.13 from “By Myself” on “Call Him Reckless” displays Wilkins

use Major 6 th double stops employing Post-Bop style chromaticism to

add amb iguity to the change from a “one” chord”, D7 to a “five” chord,

A7 in the key of D. This idea consists of what is referred to in guitar

pedagogy as a “shape” (which refers to the Major 6 th structure) that is

moved in a gradually ascending manner using rapid back and forth

chromatic quavers. The idea begins with a harmonised F# and D

double stop, which are the major 3 rd and root of the D7 chord.

Wilkins then keeps this “shape” structure intact and employs it as a

vehicle to create ambiguity over the following four bars. This

ambiguity continues until he reaches the tones C# in the lower voice

and A in the upper voice resolving the idea on beat one of the 5 th bar

clearly signaling the arrival of the A7 chord. The majority of what

happens musically between point A, which is the beginning of the

phrase, and point B, which is the resolution to A7 in bar five is

unnecessary to analyse against the underlying chord. What is

important is that the momentum created by the rhythm and the

major 6 th interval structure is heard by the ear as a shape, moving

towards a point of resolution.

Fig.13



Jeff Barone

Figure 18 is a semiquaver based double stop idea

predominantly based on 4 th intervals from the title track “Open Up”

from the album “Open Up”(ibid). Barone employs the D minor

pentatonic scale over the majority of this phrases duration. He begins

by harmonizing the G and A tones with the C and D tones a fourth

above, immediately lending the line a pentatonic flavor. He briefly

switches to four semiquaver harmonised 3rds on beat three of bar

one to emphasise the ninth (E) over the D minor, before returning to

the pentatonic scale fourths on beat four.

In Bar two, Barone continues to employ the D minor pentatonic

scale harmonised in fourths over the E7 chord. On beat one, Barone

harmonises the D in the lower voice with a fourth above (the G)

which is the #9 of E7 making it clear that his is an altered dominant

chord that will resolve a fifth above or a fourth below. On beat three

Barone harmonises the #9 in the lower voice with the #5 in the

upper voice, adding more tensions to the dominant chord.

On beat one of bar three, which is the resolution to the A minor

7 chord, Barone switches to harmonised 3rds to state the C in the

lower voice and the E in the upper voice which are the b3 and the 5 th

respectively on the underlying harmony.

Fig.18

jack wilkins double stops analysis

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